Juxtaposition of the First and Seconde Grande Sonate for pianoforte of 1825, one a melancholic, intimate effusion that will not smile even in its concluding rondo, voluntarist and threatening; the other, brimming with frothy joy close to a stylized Tyrolienne, then a refined Ländler whose emotional invention heralds Bruckner, followed by a moderato as light as it is timeless in its innocent, inalterable gaiety. A portrait such as only Richter the painter knew how to compose.